by Sherry Steiner
Film composition.
A mezzo-phrase.
A qualifier of elemental narrative arrangements.
A shot defined as emotional jabbering.
Etienne fasts forward to a time of silent relief juxtaposing the elsewhere and the could have been moment that stuck to his heart.
Oh what a sticky situation.
Highly saturated reds, lavender balance,
blurred depth of field.
However shallow the latitude he is able to fly through on its vertical axis.
Dumbfounded but smiling he points to
his own personal timbre; a cuckoo clock
and a projection of himself as someone else.
It was Friday when the sounds of traffic reminded him of Proust, Pierre's alter ego and the settling of the house. Footsteps thaw, a train passes by,
a mirror falls from the wall.
Terrified under the covers Etienne works on his script –
lines collide - Ohio becomes the home of the Empire State building and a cruise ship lands on the moon. Standard structural formatting does not exist here.
Fade in and dissolve. Physical arrestment.
Constrictions.
He briefly wonders if Pierre is more of a hobby - a patent to a weekend invention
where exotic settings are two dimensional.
In 1895 turtles weren't as cautious when crossing the road.
Did Proust know that too?
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